Shocked! The Secret Behind Using 3D to Make 2D Animation was Revealed!

As an anime lover, have you ever wondered how animations are made? Especially those 2D animations that are made in 3D. So in this article, the best CPU & GPU cloud rendering service provider, Fox Renderfarm, will reveal to you the unseen secrets behind ysing 3D to make 2D. Guaranteed to amaze you.

The comic book style girl puts her hand in front of her face and makes a cute gesture as if she is a bit shy for the camera…

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People who love anime have always been struck by similar compositions. This is because such an intimate perspective makes one feel infinitely closer to the characters on screen.

But once you know the truth, you feel very far away from them.

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A very normal character in the shot, looking like a giant hand monster from other angles

It's an inside story that many in the 3D animation industry avoid talking about. What you see, may only be as good as it seems:

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The "brutal" truth behind the scenes that may shatter one's dream of ACGN.

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And these are just a few of the things that go into 3D animation.

As viewers, we are often struck by the expressive animation shots on screen, but it is hard to think of the unexpected "deceptive" tricks behind them...

For example, these cute and cuddly looking characters may well have a crooked mouth model.

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Recently, a Japanese anime enthusiast, さんご, has announced his self-produced anime, Bite the Bullet.

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As soon as the anime was released, it quickly became a hot topic in the Japanese anime community. The first thing people admired was the high quality it showed.

But that wasn't the end of it. For with it, author さんご shared a portion of the 3D production process of Bite the Bullet.

What was revealed in these process images was something that most viewers were not expecting - for example, a few frames of animation where the "character speaks sideways" are actually hiding a crooked mouth model.

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The aesthetically pleasing shot of the young girl looking down is reliant on the rendition of the monstrous man.

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The mystery of 3D animation was lifted with the appearance of these production images. The "brutal" truths were revealed to a large number of users, who sighed "so that's how it is".

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But in the case of 3D animation, this is only the most elementary of “scam” techniques.

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As we have seen, most anime have a sight that does not strike us as strange unless we think about it.

The character is showing a side face, but a full mouth is visible.

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It is a way of presenting the painting in a way that reduces its cost. With its extensive use, it has now become a phenomenon that is not uncommon to viewers.

Some of the 3D animations (especially cel-shading) have to deliberately tilt the mouth to a particular angle during the adjustment of the model in order to achieve the same effect.

This is a rather counter-intuitive way of drawing, but it is one of the common techniques in 3D animation: 'destroying' the integrity of the model itself for the sake of expressiveness.

In short - the model may not be as ‘harmonized' as you think it is, where the viewer can't see it.

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As more and more producers of 3D animation reveal the process of creating their own work, the secrets behind are beginning to be revealed.

For example, in the final result there is a rather powerful image of roaring.

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But it may look a little funny on the front.

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鈴木大介, CG director of the anime Bubuki/Buranki, has explained this in detail about a scene in the production: "This image uses the plug-in to add brush strokes to the contour lines, while the posterior notch teeth, which are not included in the model, have been re-kneaded and put in. This is a typical example - the 3D model has been refined in order to look like 2D."

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The viewer is only able to see the final picture. The artist often has to go out of his way to break the consistency of the model in order to get the best out of a particular angle.

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For most 3D productions, the reality can be very different from what you might expect in places that are not visible to the viewer.

One player has tapped into the game Dragon Ball FighterZ and has been known to bring out some of the content that is not visible to the casual viewer.

Dragon Ball FighterZ is an action-packed fighting game published by Bandai Namco Holdings. As a manga adaptation, it places great emphasis on the fighting performance in the game, and has received great acclaim for this.

While the game uses a traditional 2D horizontal fighting game perspective, the characters are modeled in 3D and there are brief perspective shifts and performances depending on the skills.

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A YouTuber named sigmaG19 has done a few tricks to fix the perspective of the game and then shared some more "realistic" images of the game.

It is in contrast that one understands how some of the extremely tense performances are achieved. The most classic example of this is the animation of Son Gohan's big move. During live action, it looks like this:

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The animation deliberately gives a close-up of the character's hands, making the overall movement look extremely tense. And if you watch this performance in a fixed perspective, you will see that the image above is actually achieved by making the hands increase violently:

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There are a number of similar animated sequences. Once the camera and perspective are missing, the actual picture effect is slightly strange.

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Some in the animation industry refer to this technique as 'necessary fraud'.

Fraud" means "destroying" the consistency of the model itself by distorting, enlarging and reducing, in order to enhance the tension of the image.

The creator of the CG animation for the female-oriented game IDOLiSH7 had demonstrated a similar technique.

In one of the game's CG animations, a character is shown in profile with her buttocks slightly exposed.

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In order to achieve the "fullness" shown above, the production team actually added hip pads to an otherwise flat model.

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Since anime often has similar exaggerated effects, it is not particularly surprising to viewers that some actions or effects do not actually 'make sense'.

By "not reasonable", it means that "these images cannot actually be "achieved" in reality.

One of the most typical images is Ultraman's action: Ultraman flying forward with his fist raised.

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Ultraman's large fists give the whole picture a very dynamic impact. But to achieve this pose in reality, one would have to accept having Ultraman out of proportion.

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In the 2D view, the hero Ultraman goes all the way. But in the 3D world, it's really more like a rubber man who can stretch his limbs.

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This technique of placing unreasonable emphasis on parts of the body in order to make the picture more expressive now has a proper name: the perspective of lies: (嘘パース).

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For anime fans, the chances are that you have been "tricked" numerous times by the perspective of lies without actually realising it.

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Fans of anime and manga are likely to be impressed by an image of a character holding a fist or weapon out in front of the screen.

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You may have a vague feeling that the composition may not make sense, but you don't think about how much it doesn't make sense.

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In some 2D animation, where the emphasis is on impact, this kind of image is often criticized as being "hard to figure out how to make such a pose".

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And the production of 3D animation gives the answer: making excuses.

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There is a scene in the anime High Score Girl where the female protagonist punches the male protagonist hard in the face.

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The viewer, who only sees such a brief scene in the production, automatically makes up the off-screen parts and naturally rationalizes them.

But if you look into it, you can see that this kind of image cannot be realized in reality. Instead, 3D animation uses posing in order to make it come true.

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If only a wide angle lens is used to achieve a similar effect, the character's face will be distorted as well

Similar shots that we often see in 3D work are basically achieved by distorting and modifying the modeled limbs.

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This harmless 'trickery' gives the normal images a more exaggerated sense of 2D animation.

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In many unexpected places, your eyes may have been deceived by the camera!

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And this perspective of lies does greatly enhance the performance of the image. One modeler has shared a before-and-after comparison of the resizing of a character's feet, and the effect is highly visible:

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It is also because of this excellent effect that the perspective of lies is now ubiquitous.

It is also worth noting that this technique of 'irrational' exaggeration was actually being used decades ago.

Between the 1970s and the mid-1980s, an artist named Kanada Yoshinori had a huge impact on the Japanese animation industry. He worked on a number of classic animations such as Getter Robo G, Ikkyū-san and GeGeGe no Kitarō, and was known for his unique drawing techniques.

In Kanada Yoshinori's drawing process, he often used a special technique: exaggerating the distance and proximity of the characters/objects - zooming in on the near objects and zooming out on the distant ones.

The image thus manipulated obviously has many perspective errors. But it is a convincingly expressive image:

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The impact of this style of painting on the whole industry has been immeasurable. It is also known as the "Kanada Perspective" and is one of the cornerstones of the method perspective of lie.

To this day, these countless "deceptions" are still being perpetrated in various productions.

Although the audience is likely to cry "fraud" when they learn the truth, they are not to blame.

In any case, these are all lies of the ACGN, and they are well-intentioned lies.

These are the secrets of using 3D to make 2D animation that Fox Renderfarm reveals to you. As the leading cloud render farm service provider, Fox Renderfarm continues to bring you more news about 3D art! If you don't know what is a render farm, you could get to know Fox Renderfarm, the amazing tool which helps you to create 3D models or animations.

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Disney's Twelve Basic Principles Of Animation
Disney's Twelve Basic Principles Of Animation
In the early days of hand-drawn 2D animation, the top animators from Disney, Ollie Johnston and Frank Thomas, summed up the basic principles of the twelve animations. In 1981, "The Illusion of Life: Disney Animation" was published. These twelve animation principles, the rules developed by two-dimensional animation, can also be applied to the production of 3D animation, and also the 3D animators. The necessary foundations are as follows. The following is collected by render farm Fox Renderfarm of these twelve principles. 01.Squash and Stretch The object receives the force of the squeeze, resulting in an elongated or flattened shape, coupled with exaggerated expression, making the object itself look elastic, quality, and vitality, so it is easier to produce comic changes. The squeezing and stretching of animations is usually accompanied by Exaggeration, or the rhythm of Timing is used to highlight the weight of the object. 02.Anticipation The action of the animated character must allow the viewer to produce expectations. Through the physical performance, or the arrangement of the mirror composition, the audience can predict the next action of the animated character, so that the audience can more easily integrate into the story. Adding a reverse action strengthens the tension to do the action, which in turn indicates the next action that will occur. 03.Staging The drama is arranged by the writer and the director, and the animation is also the same. Because all the animations and composition of the animation need to be manually created by the animator, the composition, lens movement, motion, and position in the animation need to be designed and arranged to avoid trivial movement changes that have occurred at the same time. The most important thing is to carefully design each lens and action. After design, not only can the overall feel of the animation be better, but also save a lot of unnecessary modification time. The character's movements and performances, combined with appropriate lens movements, can effectively convey the character of the character and the message conveyed in the story. 04.Straight-ahead vs. Pose-to-pose Continuous movements and key movements are two different creative techniques. Continuous action means starting from the first action when doing animation, from the beginning to the last in the order of the action, usually used to make simple animations. The key action is to decompose a series of animations, first draw the key actions of the entire series of characters, and then add the intermediate excessive movements after the key actions. This is usually used for more complex animations, and it's also easier to control the production time of the entire animation. 05.Follow-through and Overlapping Action Following the action, the parts of the object are disassembled, and usually the parts without the skeleton are more likely to follow. Such as hair, clothes, animal tails and so on. The overlapping action is to disassemble the various parts of the movement, and to shift the time of the movement, resulting in the separation and overlapping time and exaggeration changes, which can increase the drama and expressiveness of the animation, and achieve the purpose of attracting the audience more easily. Increased the fun of animation. 06. Slow-in and Slow-out An action is slower at the beginning and end, and the middle process is faster, because the general action is not constant motion, which is a normal physical phenomenon. When a stationary object starts moving, it will slow down to fast, and the object to be stopped will be fast to slow. If you start or end in a constant speed, you will have an abrupt feeling. 07. Arcs The movements in the animation, basically in addition to the mechanical movements, almost all the motion lines are in a parabolic way. Whether it is the movement of the body or the attached object, it is drawing a parabola. Therefore, when drawing motion lines, non-mechanical objects should not be completely linear when moving; mechanical objects use harder linear motion, which makes it easier to distinguish between mechanical and non-mechanical objects. It also enhances the personality of these two completely different objects. 08. Secondary Action The subtle movements attached to the main movements, although they are relatively small movements, actually have the finishing touch. The secondary action is not an unimportant action, but the key to strengthening the main action, which not only makes the character more vivid and real, but also makes the character have a sense of life. When the character is performing the main action, some accessories attached to the character, or parts such as hair and tail, will append the main action effect with the attached action. 09.Timing The soul of animation is the movement of objects and characters, and the key to controlling movement is the rhythm and weight of movement. The rhythm of the action is the speed of the speed. Too fast or too slow will make the action look unnatural, and different characters will have different rhythms, because the rhythm of the action will affect the personality of the character, and will also affect the natural movement. Whether or not. Another key to controlling movement is the sense of quality, because all objects are of mass, and the rhythm can represent the quality of the object, which is related to the perception of nature in general. 10. Exaggeration Animation is basically an exaggerated form of performance. Through the performance of the characters, the mood of the ups and downs is strengthened, making it easier for the audience to integrate into the story and enjoy it. Exaggeration is not only the expansion of the scope of action, but the ingenious and appropriate release of the emotions required by the plot. When designing actions and scripts, how to use the animation itself to easily express the exaggerated advantage to arrange the passage of the plot, the animator's exaggeration in the interpretation of the role is an important key to the animation. 11. Solid drawing The production of animation, visual performance accounts for a large part, and visual performance requires a very solid foundation of painting and a sense of beauty. Whether it's making traditional animations or computer animations, animators need some basic training in painting to fully represent the images they need in animation. This principle should be transformed into "beauty" in the light of the changing of the times, rather than "art" (the technique here), whether it is a brush or a computer. And the final picture of the animated face to be presented to the audience is the animated picture in the artist's brain. In this regard, what we have to learn is to raise the level of the animated surface in the brain and try to make the picture, no matter what tool is used. 12. Appeal Attraction is a condition that needs to be in any art. Animation is like a movie. It contains many different art types. Whether it is music, pictures or plots, it must be matched with each other to interweave the best overall. Picture works. The most appealing aspect of animation is the imaginative way of expressing images. Almost all of the animations are "created" by the animator and the director's hand. The "degree of freedom" of the picture is extremely high, so the animation always gives people a feeling of imagination, and the most attractive animation. Place. When designing a character, the audience can directly understand the character's attributes in a styling or unique posture, and enhance the audience's impression of the character, such as tall and thin, which can represent different characters.
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